Within the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is effortlessly straight-backed, his arms defined beneath a simple white T-shirt. On stage, dancers can seem like mighty gods, yet often in person they are small. This is not true for Ball, whose height is part of his popularity for heroic characters and pas de deux work. Possessing fine traits and piercing eyes, there's a touch of a brooding actor about him.
An Apparent Rise to the Pinnacle
At 31, Ball is experiencing the crest of a career that has progressed seamlessly. Raised in Liverpool, he faced minimal ridicule for his early interest in ballet. Joining the esteemed training institution at 11, he moved straight into the troupe and was advanced annually, reaching the highest position of principal in 2018. He has loved taking on substantial dramatic roles, particularly the psychological angst found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His next starring appearance is as himself, in an "In Conversation" series aiming to offer intimate insights into a dancer's art. He will walk the audience through a role, demonstrating his cognitive process while execution. Yet in more comedic works, the test is significant. "A classic ballet is one of the toughest technically," he notes.
The Mental Game and After the Show Emotions
How does he feel following a show, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get lost in the character, quite often I do feel embarrassed afterwards. Following Mayerling I'm always like: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a choreographer previously remarked on a "kind of suffering in him." Does this exist? "I am very active in general, but I do have a melancholy streak," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."
Early Motivations and Artistic Influences
His determination originated in early experiences. Not excelling in competitions at school made him "driven!" It was fuel to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
The next challenge is making his own choreography. For Ball, "organic movement has value." "Challenging the conventions is interesting, but just acting that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be filled with meaning, drawing inspiration from books, music, and art.
Close-Up Performance and Private Partnership
He also is interested in staging dance in more intimate spaces. "It was just really thrilling," he says of a past experience. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They aren’t typically matched on stage at their main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s biggest supporter."
On Social Media and Bodily Image
On social media, fans can see clips from his dance films and photos that showcase a athletic physique. Does he mind that the engagement can be a bit objectifying? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he states. He relates it to viewing Michelangelo’s David—an object that can be interpreted on various levels.
Ball characterizes his early self as "eager for success." Has it lived up to his expectations? "I feel very aware of how reality is a different reality to the dreams you had as a child," he reflects. He likely has another ten years of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
